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  1. Today
  2. I really don’t see what the big deal is clipping the mic. And I’ve seen so many docs with heavily NR’ed lav tracks to get rid of, in my opinion, unnecessarily scratchy wires. In a narrative piece of course it has to be hidden, but who are we trying to fool on a doc/corporate piece? If it’s small and unobtrusive 99.9% of viewers aren’t going to care and it will ALWAYS sound better.
  3. tough one - it’s not worth all the effort sometimes - even if you could pull it off... you have to babysit the rig the entire time and how much of it are you really using? The margins get really narrow here - how much do you push it? How hard will it be to ditch if seen? Is the mic placement even going to be clean to make it worth dealing with hiding the TX?
  4. Is the way the DSQD emulates the 'legacy' modes similar to the way the M2R emulates the 'legacy' FM IFB mode?
  5. when I encountered issues with CMIT and humidity - it was when the mics were out on an overnight shoot and the temp was dropping and we reached the dew point. You could see dew on the pelican cases. The CMIT was not putting out any audio. It may have needed a day or two to dry out. having a few MKH options would be very wise as the design of these mics are completely different if interested look up 'an MKH story' PDF. On the other hand your MKH mics may go berserk in the presence of a cell repeater or hotspot as they are RF oscillating microphones. So both have their sensitivities but you can go back and forth when you run into problems with one or the other....
  6. First thing that came to mind - quarter watt transmitter 10 feet from an SRB receiver - you probably are overloading the receiver. When i've experienced this with the SR receivers it sounds like IMD. Make sure if you are using the SRB that you are properly spacing your frequencies. You have to check the literature - there is a certain way you need to set them up
  7. The headphone amp is very good they can drive some inefficient IEMs and phones so Line Level should be no problem - if you are going into the TX in AES then there is no level adjustment on the TX from what I remember. You must check the mixer / limiter settings on the RX because those are more for IFB functions i would leave off for a camera hop.
  8. Interesting down to earth blog. Much good reading material, thank you for sharing.
  9. Yesterday
  10. Sam, you don't want to try to have both transmit and receive happening from the same antenna with these types of systems. Some systems can multiplex onto a single antenna, but these aren't those. With your SRc and UCR411a, you could run a single pair of antennas into a pair of distro units (or a dual-channel distro). If going through passive splitter/combiners, a 1:4 splitter will cost you about 6 or 7 dB, and this will not be made up by the somewhat higher gain of the SNA600a vs. whips. Thus, you are probably better off running off of whips for those receivers. Having your IFB transmitter two blocks away from your talent receivers is good practice.
  11. I'm prepared to have this filed in the "stupid question" column, but just to be SURE I understand: Say I have a Block 22 Lectrosonics IFB, two Block 20 SR-B, and 2 block 20 UCR-411a's in the same bag. Is it acceptable to use two passive combiners along with two passive sharkfins or sna600a's for the receivers and the transmitter at the same time? In one combiner I'd have 4 receiver antennas, and into the other I'd have the other 4 receiver antennas + the one transmitter antennas. Would that put the Voodoo RF Gods in a negative disposition? Tx and Rx from the same antenna is OK? Or not so much? Thanks for the clarification, Sam
  12. I've used RMGI tape in the recent past with good results but it seems the formulas were once again bought and now distrubuted by Recording The Masters. I'm not old enough to know the setup specs for 968 but RTM has thorough documentation so you can find a formula that matches closest.
  13. I don’t really have a strong preference. At the end of the day it’s up to the director or producer and I’m happy to support that. I only really push for exposed lavs in live, or corporate scenarios.
  14. Hi, does anyone have a solution for cable management, when you have two lavs (one as backup). I have cables together and in the middle its coil together (because of shortening) and the tape is used. But the cables are tangled soon or later. Is there some special clip or something like that? Thanks for your replies.
  15. I'm talking more about EPK, BTS, documentaries, higher end corporate. Not exactly "live", stuff with a crew that will be shot, color corrected and sound mixed, where the DP, wardrobe, hair and makeup have actually put in effort to make talent look as good as possible and the image to look as good as possible. What about a walk and talk with a show host? This would all be stuff with a boom also, I agree, it's riskier if you only have lavs. This sounds more like my world too.
  16. In that situation I always use an overhead mic ( Schoeps MK 41) on a boom, either fixed or handheld, depending on the movements of the talent. Lavs are useful when an overhead isn't feasible due to external noise, bad room acoustics, talent is in motion while talking, etc. If the situation requires use of lavs I try to not hide them unless someone insists that I do. If I have to hide the lav then I try to keep the mic capsule exposed or at least away from layers of fabric.
  17. Thank you for all of the information, David! Great stuff! That answers a lot of questions.
  18. codyman

    Cold 5G

    If you were right next to the transmitter you could get interference on damn near any block. That being said, if it is a T-Mobile setup it should be in the 600mhz range.
  19. Actually Audition is pretty capable and if used in tandem with Premiere its a decent workflow. He mentioned he's using Audition to edit the audio.
  20. I never use the clip, don't even carry it on me anymore. In my world the reason they hired me is to take the time hiding mics, if it was just clipped the camera or the PA would probably just do it themselves. Yes the mics are small but even when it is hidden I have had many cases where the camera guy spotted it, pointed it out, and told me to move it.
  21. karlw

    RF Interference

    Are you in the US? Block 26 is now subject to testing by T-Mobile and possibly other data carriers who have purchased spectrum in the range between 614 and 698 MHz. There is info about this on our web site: https://www.lectrosonics.com/fcc-spectrum-updates.html
  22. There is still plenty of use of stereo Nagras in the classical world, and plenty of tape avail, although it’s way pricey. Like I said....Nagramaster.....!
  23. daniel

    RF Interference

    Do scan on RFX, do scan on RX, set freqs to what seems best at the time, maybe take a photo of RFX screen, leave it running the duration of filming, if you get a hit, check RFX screen - might show you where in the spectrum it was. RFX has different display modes.
  24. daniel

    Cold 5G

    SD 8 series will keep things warm.
  25. They make mics that are so small now a days that they can be mounted outside without it looking sloppy. You can use different colored mics to blend or match better with wardrobe. And it sounds so much better. Im on a doc right now with a director that hates seeing the mic and I just don’t understand it. Sure, if it was a tram with a foam windscreen I can see where he’s coming from. But with a B6 or a DPA 6060 or a Senn mke1 it really isn’t obtrusive. last week we had an A lister request that we clip it outside and so we did. I asked the director how he felt about the look and he wasn’t so bad! Still won’t let me do it but hey little victories.
  26. EmRR

    RF Interference

    We recently had an LCD monitor start spraying RF causing wireless dropouts, which didn't show up in scans. Found it the old fashioned way, turning things on and off one at a time.
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